These terms are intended as synonyms and usually, they come with the abbreviations: AMB_ATMOS_BGS.
(A very important part of the background is the room tone, but I will dedicate a separate post to that)
In the film, the atmosphere can be categorized into two main components: beds and details. Beds are continuous layers of sound that establish a foundation for the rest of the sounds within a scene, they create a sense of space. On the other hand, details are specific and transient sounds, like dog barks or clock chimes, that punctuate the soundscape at particular moments, adding texture and emphasis.
By deliberately contrasting these different elements of the soundscape, we can mirror the conflicts and tensions within the characters and the broader narrative. This deliberate interplay between beds and details enhances the storytelling by engaging the audience on an auditory level and deepening their connection with the story.
However, it is important to dispel the notion that a film must include a constant stream of miscellaneous background sounds simply to mimic real life. This misunderstanding overlooks the fundamental nature of film storytelling. Films are not meant to replicate reality; instead, they have the power, much like dreams or magic tricks, to stylize reality in ways that both entertain and enlighten.
"I would propose that in most cases ambiences should be the last sounds added to a film rather than the first. Lots of time and energy would be saved, and the background sounds that ARE added will be much more likely to serve the story rather than being annoying, obfuscating wallpaper."
(Randy Thom)
When starting the design of the effects portion of the soundtrack for any particular project, it is a great idea to start with the background sounds, ambiences or atmospheres. These are what are generally referred to as BGs. Generally speaking, BGs will be cut to match the scene so that the BGs shift with each scene change. Atmospheres are meant to enhance the scene and not distract from it. BGs help tell time and place.
When cutting for backgrounds it’s a good idea to think about sounds in layers instead of finding a single sound effect to cover the whole scene.
This use of layering offers the mixer a lot of opportunities for variations in the soundscape. Since each element is individual, now the opportunity exists to match the action onscreen.
R. Murray Schafer's book "The Tuning of the World" presents a valuable approach to understanding the soundscape by categorizing it into three groups. These groups include:
Sounds of the Earth: This category encompasses natural sounds like whistling wind, creaking glaciers, and rumbling volcanoes. These sounds represent the elemental aspects of the environment.
Sounds of non-human life: This group comprises sounds produced by non-human organisms, such as chirping insects, warbling birdsong, and howling wolves. These sounds reflect the presence and activities of various creatures in their natural habitats. Could be a bed such as the sounds of crickets or more specifically such as dob barking etc. Randy Thom states that it may have some value to add these sounds if "has some story connected to one of the characters, or if it evokes an emotional response, or if it muddies the sonic waters in a useful way". But adding them simply because there might be in that scenario, is not imaginative, and may do the story more harm than good (Randy Thom).
Sounds of humanity: This category consists of sounds created by human activity, ranging from clanging industry, cars, walla, and babbling voices to beeping machines. These sounds represent the auditory imprint of human civilization on the world.
By organizing the soundscape into these three groups, Schafer provides a framework to better comprehend and analyze the diverse sonic elements that comprise our surroundings.
We could translate these concepts to a Pro Tools template for audio post-production specifically targeting backgrounds, following these steps:
Set up a group bus for backgrounds: Create a group bus track in Pro Tools that will serve as the main container for all the background sounds.
Divide the group bus into three sibling folders: Within the group bus track, create three sibling folder tracks. Each folder track will represent one of the three main elements described by R. Murray Schafer: Sounds of the Earth, Sounds of non-human life, and Sounds of humanity.
Through creative sound design and manipulation of the soundscape, filmmakers can transcend reality and present a heightened version that serves the narrative. They can evoke emotions, guide the audience's attention, and create a unique audiovisual experience. By skillfully crafting the soundscape, filmmakers can transport viewers into a world that is both familiar and artistically enriched, allowing for a deeper engagement with the story being told.
Some useful tutorials here:
Matt Yocum
Aftertouch Audio
Thomas Boykin
Film Sound Tutorials
Tom Efinger
Woody Woodhall
Martyn Harries
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